Starting with your organic intersections, these are looking quite well done. You're doing a great job of drawing each sausage form in its entirety, and also generally capturing how those forms sag and slump over one another to capture a believable relationship between them. Your second page especially does a great job of this - the first is decent, but some of your lower forms feel like they may have been added afterwards, because the forms on top of them don't really react to their presence. If you did in fact draw them as a later addition, remember to always build up, so you don't end up trying to sneak a form underneath where those on top can't change their silhouette in response.

Moving onto your animal constructions, as a whole I think you're largely doing a pretty good job throughout this lesson. There are some areas where I have suggestions, or explanations of certain concepts to offer, but as a whole you're showing a good grasp of how the animals you've constructed are made up of the combination of simple forms.

The first thing I want to stress is just that drawing smaller can often impede our brain's capacity for spatial reasoning, and can also make it harder to draw from the shoulder, resulting in drawings that can often come off as somewhat clumsier than we're actually capable of. For example, the smaller of the two cats on this page definitely was much more difficult for you than it needed to be, because you were forced to work in a very small space. We can perhaps see this most of all in how you've drawn the fur. In the larger drawing, the fur was notably more purposefully designed - the tufts were drawn more carefully, with more consideration for each individual one, whereas in the smaller drawing they were just arbitrary spikes put everywhere on auto-pilot.

Unfortunately this more haphazard approach to fur was definitely on display in a variety of other drawings - including those that weren't as cramped. In the future, remember that fur, and all texture, is not to be added carelessly. Rather than focusing on adding as much of it as we can, it's more important to add less, and to invest more time into designing each tuft on its own, as explained here.

Moving forward, one thing I definitely want you to avoid when dealing with construction in general, is what we see in this wolf's head area. Here you laid down a ball for the cranium, then decided to ignore it entirely and redraw it a little further down and to the right. As a result, you've constructed a head, but have an entire structure there serving as a contradiction. Once you put a form down, it exists and must be respected. Yes, there will be circumstances where we'll get ahead of ourselves and commit to a form on the page that does not match our reference, but it is better that we continue building off what we've drawn, rather than attempting to change it in such a drastic fashion. Our focus is not ultimately to create a perfect reproduction of the reference image, but rather to use that reference as a source of information to create something solid and believable.

Looking at the bulls, you've definitely dived a fair bit into employing additional masses quite a bit, and you're doing a pretty good job with it. There are areas where it can be improved however, as shown here.

• When two additional masses overlap, draw both in their entirety, and add the second on top of the first (in three dimensions). Meaning, once that first mass has been added, it is now part of the 'existing structure' around which that second one has to integrate itself.

• There may be areas where you're tempted to just draw a single line to, say, bridge across one section of the leg to another. Don't. Every addition to the construction must be its own solid, three dimensional, enclosed form. That means drawing each such piece entirely and defining how it wraps around the existing structure, never falling back to lines or shapes.

• For the head construction, throughout the lesson you've not been doing badly, but you've been a bit loose in really getting the different components of the head to fit tightly with one another. Take a look at this breakdown of how to approach head construction. I plan on using that as a template for new content on this topic, when I'm able to record more videos for it, but until then a lot of that newer content is going to sit under the "unofficial demos" category.

While overall you have done pretty well, I do see an trend across your work where your linework definitely tends to be a little sketchier and explorative. Where in my demonstrations, every mark is drawn purposefully, with preplanning, you're just a little more willing to put marks down, and perhaps put down multiple strokes where one should suffice. For example, if we look at these back legs from one of your bulls, they're definitely not constructed as concisely as this course really demands of its students.

Drawing like that is fine outside of the course, but here we abide by particularly strict rules about markmaking so our instincts are trained to be able to create looser drawings with a similar sense of purpose. When we draw loosely and explore on the page, we want our subconscious to be hard at work thinking for that split second before a mark goes down. What we're doing here is training our instincts - and to a point, what you're doing, is using your instincts, which does not help us develop them in the same manner.

So, I am going to mark this lesson as complete, but I do want you to take a bit more care with your linework, and even in general to think through every mark or form you wish to add to a construction. Drawing larger will often help with this as well.